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GERALDO CARNEIRO

About Folias metafísicas

"What Carneiro discusses throughout the book is the possibility of making poetry today in Brazil, a poetry that is naturally modern and undoubtedly Brazilian. The modernity in question is looked for not only in the colloquial form of speech or in the contemporary referencesbut above all in the manner of organizing each text, in the manner of finishing it in na open manner, in a sort of inconclusive programming which directs the attention of the public not to a special message of the poet but rather to the "modus operandi" of the poet. The Brazilian character is manifested not in the local color of idiomatic peculiarities but rather in the search for pertinent worries which although familiar will not flatter provincial nostalgia. (…)

Geraldo Carneiro, puts poetry with seriousness and humour in the place that it ought to be – that is, in the center of cultural preoccupat in a time that does not admit return."
Nelson Ascher, "Defesa e ilustração da modernidade." In: "Folias metafísicas". Rio de Janeiro: Relume-Dumará, 1995.

About Pandemônio

"The poet, Geraldo Carneiro, does not exist or if he does exist he is the intervention of the memory of the world; actor of the encounter of small pieces of romances, poems, plays, films, popular Brazilian music, pop music, soap operas, common daily conversations, mythical, mystical, mistifying. He is the confluence of narcissism in the throng of post-modern speech."
Silviano Santiago, "As flores do tempo" In: "Pandemônio". São Paulo: Art Editora, 1993.

About Piquenique em Xanadu

"A poet radically of his time, Geraldo Carneiro has promenaded – always very much at ease and with brilliantism – through other means of expression, such as music (…), movie and television scripts, and the theatre (…).

However, reading this pic-nic brings us to the most obvious verification: that poetry is the first and last word of Geraldo Carneiro, contaminating and being contaminated by all the other means of expression. Pardon me for the use of the word but throughout this book intertextuality reveals itself through sinister pacts with cinema and theatre (…)"
Sérgio Sant'Anna, "Apresentação" In: "Piquenique em Xanadu". Rio de Janeiro: Espaço e Tempo, 1988.